The Last Resort

Son Sığınak / Paradis

DCP / Color / 98’
Danish, English, Spanish; with Turkish and English Subtitles
Denmark, 2026

Director: Maria Sødahl
Screenplay: Eske Troelstrup, Therese Hasman, Maria Sødahl
Cinematography: John-Erling Holmenes Fredriksen
Editing: Kristofer Nordin
Cast: Danica Curcic, Esben Smed, Aziz Capkurt, Claes Ljungmark
Producer: Thomas Robsahm, Sigurd Mikal Karoliussen, Helena Danielsson
Production: Nordisk Film Distribution A/S, Nordisk Film Production
World Sales: Nordisk Film

Synopsis

The Last Resort is a film that asks questions, seeks answers, challenges values and stances, and continues to disturb even after the credits roll. Set in a chic resort in the Canary Islands, the film tackles anti-immigrant sentiment fueled by racism and xenophobia in Europe through the lens of a Danish couple vacationing with their young daughters, who strike and injure an Afghan refugee with their car. Norwegian director Maria Sødahl deliberately conveys the moral dilemma the young couple plunges into from their own perspective, aiming to have the audience identify with them and be tested by the very same experience. Although Mikkel and Louise view themselves as sensitive, egalitarian, and compassionate people—and raise their children as such—they exhibit contradictory behaviors driven by their fear and anxiety. Ahmed, portrayed by Aziz Çapkurt, is a desperate man separated from his family; we know nothing about him other than what he says himself, and he is simply trying to survive in the island’s camp with his injuries. Under the pretext that they hurt tourism and disturb the peace, the locals form fascist groups, acting hostilely toward both the refugees and those who extend a helping hand. The film clearly depicts the hypocrisy of the islanders, who welcome the “foreigner” as long as they are white, Western, paying tourists, yet remain prejudiced and aggressive toward Middle Easterners and Africans fleeing war, dictatorship, and poverty. The inconsistency in the approach of volunteer groups also fails to soothe the wounds of Mikkel and Louise, who are writhing with guilt… Sødahl maintains the tension throughout the entire film and delivers a finale that hits like a slap to the face.

Screenings